This chapter constitutes a detailed example of Computational Media
Aesthetics at work. A short history of approaches to the problems posed
by Automatic Content Management in its broadest context is presented, cast in
the light of their ability to obtain the much needed semantic grid with which
to interpret their object. Our consideration is then further narrowed to the
video medium, where we identify two common categories of solution to the
problem, the {\em kitchen sink} and the {\em brittle mapping}, note their
relative weaknesses, and show them to be directly attributable to the nature
of the semantic grid chosen, or lack thereof. Focusing on our domain of Film,
we argue that the best semantic grid for its interpretation is that within
which its creators work; namely Film Grammar. In order to demonstrate this, we
develop a measure for the extraction of a fundamental aspect of film, Tempo.
From definition, to formulation, and even its exploitation resulting in the location
of high-level filmic components such as dramatic occurences, the process is
guided by film grammer at every step. Example results are provided from the
movie The Matrix.